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Dimensioni del collo
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14,09 x 12,63 x 1,37 cm; 80,32 grammi
Produttore
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Mca
Etichetta
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Mca
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Don't pass up this or her other two albums, "Tea & Sympathy" and "Growing Pains." She has the most incredible voice and is an amazing songwriter. A true artist. I'm fussy in what I like and I wish I could have have given her more than 5 stars.
Billie Myers pop-rock differentiated herself from the other La Lillith divas; "Kiss the Rain" was more in an '80s "Heart" vain and "Tell Me"-though more progressive with its Eastern influenced-rock- relied on an '80s gimmick as did its predecessor. She was clearly scoping out her own path with many diverse influences that would not more obviously shine through until the release of her second album, culminating in a more stately definition of her style. The sultry singer suggested-though not credited even in the '97, '98 female-dominated market place where grunge had died and rock lost its direction- that Lillith women were not always either Jewel-strumming pseudo neo-folk artists, nor were they Paula Cole or Tori Amos pretentious; her album made a dent in the industry not the rumble it should have. These women were overplayed, and Myers subtle one-hit-wonder "Kiss the Rain"-though powerful-did not beckon music buyers to buy her album in droves; the airwaves were already saturated by the likes of the women mentioned, and Myers second arrestingly progressive single "Tell Me" fell on deaf ears. Now that the novelty of "Where Have all the Cowboys Gone", and "I Don't Wanna Wait" has worn off, and Jewel's firm hold has diminished comes Myers with her second release-that if released in '98 along side the likes of Jewel or Paula-would have garnered her the attention she deserved, and hopefully still could. For fans of that fleeting moment in time where Joan Osborne's novelty "One of Us" was popular, Billie offers "Should I Talk to Jesus" that relies on the same religious references-the Kaballah, Buddah, where Osborne used the saints, all the prophets-suggesting that as the sons of God we are all prophets a la Jesus manipulating religion to our own ends.Several songs in the book jacket-including "Should I Talk to Jesus" -include prose instead of lyrics to the featured songs that emphasize her points. Myers' depth reflects that she is less kitsch than Osborne in "One of Us"; where God was amidst us and a "slob like one of us", Billie suggests in her prose that "too many(men) wannabe martyrs" exploit religion and its icons and use it to justify wars. The George Harrison citars and the funkafied faded-finish suggests that this gimmick should have led the invasion of the US market as opposed to the misguided release of "Am I Here Yet?", which is more a "Life is a Highway" send-up. A post-grunge anthem such as "Vertigo" evokes the "Every Rose has its Thorn" guitar-ish '80s vibe, but the chord progressions are more Zepplin than Poison- a clear indication of the original rock territory Billie has scoped out. "Afraid of Spiders" rivals "Maria,Maria" for its insinuatingly hypnotic ethnic vibe; it is as if we have been transported to some Carribean or Eastern-African island where the tribes arrive on "Bitter Fruit (Dead Weight)". Both these songs-more the former than the latter-are smooth jazz/NAC easy listening staples in the making. Incidentally, fans of Sophie B. Hawkins' "Nocturne" from her "Timbre" set will get immersed in Billie's "spider web.